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Today's Stichomancy for Chow Yun Fat

The first excerpt represents the past or something you must release, and is drawn from Lady Baltimore by Owen Wister:

the church to a new one, I saw that Bohm and Charley were dropping behind, and I lingered, with the intention of bringing them closer.

"But there was nothing in it," I heard Charley's slow monologue continuing behind me to the silent Bohm. "We could have bought the Parsons road at that time. 'Gentlemen,' I said to them, 'what is there for us in tide-water at Kings Port? '"

It was not to be done, and I rejoined Mrs. Weguelin and those of the party who were making some show of attention to her quiet little histories and explanations; and Kitty's was the next voice which I heard ring out--

"Oh, you must never let it fall to pieces! It's the cunningest little

The second excerpt represents the present or the deciding factor of the moment, and is drawn from Expression of Emotion in Man and Animals by Charles Darwin:

[6] J. Lister in `Quarterly Journal of Microscopical Science,' 1853, vol. 1. p. 266.

The sound of laughter is produced by a deep inspiration followed by short, interrupted, spasmodic contractions of the chest, and especially of the diaphragm.[8] Hence we hear of "laughter holding both his sides." From the shaking of the body, the head nods to and fro. The lower jaw often quivers up and down, as is likewise the case with some species of baboons, when they are much pleased.

During laughter the mouth is opened more or less widely, with the corners drawn much backwards, as well as a little upwards; and the upper lip is somewhat raised. The drawing back of the corners

Expression of Emotion in Man and Animals
The third excerpt represents the future or something you must embrace, and is drawn from Options by O. Henry:

the Vallambrosa as well as any one not owning "double hextra- magnifying eyes" could compass its mysteries. The kimonos were her encyclopedia, her "Who's What?" her clearinghouse of news, of goers and comers. From a rose-pink kimono edged with Nile green she had learned that the girl with the potatoes was a miniature-painter living in a kind of attic--or "studio," as they prefer to call it--on the top floor. Hetty was not certain in her mind what a miniature was; but it certainly wasn't a house; because house-painters, although they wear splashy overalls and poke ladders in your face on the street, are known to indulge in a riotous profusion of food at home.

The potato girl was quite slim and small, and handled her potatoes as